• The Science & Technology
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• v.33 no.4 s.371
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• pp.32-34
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• 2000

조선조 현종때 관리였던 김시진(1618~1667년)은 중국판 수학책 "산학계몽"을 우리나라서 인쇄 보급해 수학자 양성에 큰 공을 세운 인물이다. 중국 송나라때인 1299년 주세걸이 쓴 이 책은 중국의 수학사에서 빼놓을 수 없는 귀중한 책이었다. 그런데 이 책이 5백년의 세월이 흐르는 동안 중국에서는 사라져버려 조선에서 구해다가 다시 찍어낸 것이 지금의 "산학계몽"이다. 사무에 통달하고 산법이 밝았던 김시진은 현종때 경기 좌균전사의 벼슬을 지내고 경상감사까지 오른 당대의 수학자였다.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.275-286
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• 2001

The purpose of this study is to investigate the characteristics of costume and its ornaments which are appeared in the traditional wedding ceremonial customs and the wedding costumes of Eastern Slav, that is consisted of Russian, Belarusian and Ukrainian from the 19 to the early of 20C. In this study, many different procedures of wedding ceremony with a various kind of wedding costumes are shown. A wedding custom of Eastern Slav had been developed by a intermixed style of the Christianism and a paganism. The wedding custom is organized by the 3 sequential procedures; before a wedding, a wedding, after a wedding Their wedding means the union of the bride into the bridegrooms family in order to establish a new family. Therefore, the wedding costumes have been developed according to this, and the head gears have developed as a symbol which presents the meaning. A brides costume is composed of a head gear, \"Lubaha\", and \"Sarafan\" or a skirt. A bridegrooms one is made up of \"Lubaha\", and trousers. These costumes are kept through their whole life, and are worn in every important ceremonial period. Even though, the wedding customs and the wedding costumes of Russia, Belarus, and Ukrain have been developed by their general commonness, there are regionally certain differences. It is one of the important research object of the Eurasian era in the view point of culture and ethnographic, that to know the symbolism appeared in the traditional weeding ceremonial customs and the wedding costumes of Eastern Slav.ding costumes of Eastern Slav.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.341-357
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• 2021

Didier Éribon's dialogue with Ernst Gombrich, first published in 1991 in France, stands as a curious example of interpreting a scientific mind into a popular narrative. On the occasion of its brand new translation in Korean, this essay examines the encounter of two different languages, that of scholarly art history and the other, of "entretien". Éribon's previous interviews with Georges Dumézil and Claude Lévi-Strauss have already shown the perfect use of dialogue that interprets in simple words some currents of European thoughts of 20th century at its highest level. The double identity found in the extraordinary profile of the author of The Story of Art should help us deal with this particular form of dialogue in depth, and expect another possibility of explaining and reconstructing academia.